romantic

A conference on nineteenth-century literature, art, and history to be held at the Hebrew University of Jerusalem and the University of Haifa, co-sponsored by the University of California Dickens Project.

Nineteenth-century British culture was preoccupied with the paradigm of mapping across diverse areas of enterprise, including literature, popular culture, journalism, archeology, and art. Scholars have identified Victorian practices of mapping with the strategies of imperial planning and compartmentalization requisite for organizing a burgeoning empire, and for subsequent negotiations of shifting definitions of home.

Papers are invited on any theme arising from the novel. We especially welcome papers investigating the novel and its adaptations in any medium that focus on contrasting perspectives and discourses of the quest for the origin, meaning and purpose of life. This is an invitation for posters, 20-minute papers or alternative/experimental presentations. Place and dates of symposium: University of Cyprus, Nicosia, Cyprus, 30 November-1 December 2018. Deadline for proposals 01 October 2018. Please send 200 word proposals to: cyprusfrankenreads@gmail.com.

Call for Papers​The Critical Editor™ is currently accepting submissions for its critical edition of Edgar Allan Poe's "The Cask of Amontillado." Our base text for this edition can be accessed via the following link: https://www.annotatedlibrary.org/thecriticaleditocfp Published by 

1818-2018 – the silent revolution: of fears, folly & the female

Universidade Católica Portuguesa, Lisbon

5-6 November 2018

In 2018 we celebrate events which took place two hundred years ago: the publication of Mary Shelley’s Frankenstein and the birth of Emily Brontë. While the two events are markedly different, as the former is a tangible work of art and the latter more of a promise of what was to come, both have contributed to challenge and change the conceptions and perceptions of the time, thus performing a silent, subtle revolution in the world of letters.

Writing in 1800, the Marquis de Sade claimed that the Gothic was the inevitable product of the revolutionary tremors felt throughout Europe. In revealing the proximity between poetic and political terror, the Gothic became the inescapable condition and symptom of modernity itself. The rise of the Gothic in late eighteenth- and early nineteenth-century Europe is closely bound up with the discovery of Shakespeare as a "modern dramatist" by Hegel and, later, Marx. Like the Gothic, Shakespeare's plays had a propensity for exploring the "dark underbelly" of the new modern world. This seminar explores the mutually constitutive relationship between "Shakespeare" and "the Gothic," viewed as cultural catalysts for modernity and modern creativity.